Charles Saatchi’s latest attempt to shape art-world taste got off to a brilliant start. Late last year, a blaze of publicity greeted the publication of his book The New Neurotic Realism, which featured an essay-cum-manifesto by Dick Price, art critic for the style magazine i-D, along with illustrations of work by some thirty-four British sculptors, photographers, and painters, most of them little known. NNR purports to be the next big thing after YBA and is now being showcased in a series of exhibitions at the Saatchi Gallery—though it’s been abbreviated (perhaps somewhat neurotically) to “

The earliest work in Sarah Jones’s recent exhibition was an image showing part of a couch in a psychiatrist’s consulting room. The photo in some respects doesn’t reveal very much: A small mat to protect the mattress from the analysand’s shoes, a folded blanket, and a pillow are pretty much it, apart from a section of the mattress itself. Set hard against a blank wall, it appears hollowed out, compressed by innumerable bodies, its cover rucked and creased. One is tempted to fill in what isn’t there, to spin fantasies around those invisible bodies. This, though, would leave too much behind. Things